(Mud)Bucket

Fly Kelly Daniels to Penland

2012-02-03T08:35:00.000-08:00

My personal success on Kickstarter did so much more than grant me the funds I needed to continue a series of textile works. My success showed me there were people who believed in me, it proved to me I can do whatever I set my mind to if I just set it, and it sparked this idea that anyone can experience the same success if I just pay it forward a little bit at a time.

That being said, I want to put it out there again that if you start a project on Kickstarter I want to know, so I can help.

(Mud)Bucket reader and web-pal Kelly Daniels sent me an email yesterday about the Kickstarter project she launched just launched, "Fly Me to Penland". Kelly is trying to make it to Penland to study with Kathy King in March and we can help her tremendously by supporting her project on Kickstarter. Kelly has several awesome ceramic rewards for helping her out so this is a great way to add to your mug collection or grab a new little nightstand treasure (a ring dish is the first ceramic reward).

Watch the video above and then click on over to Kickstarter to pitch in and select you reward. Kelly is truly talented. I can't wait to see what she learns at Penland. :)

Kathryn Finnerty

2012-01-29T11:31:00.000-08:00

What I love most about Finnerty's work is the way she plays with positive and negative space. The shapes within these pots, created by the fine lattice-work, the curling handles, and the jutting spouts, are enough to examine for hours before you even begin to discover the texture, color, and imagery. Finnerty's work makes you consider how much room for design, style, and creativity there is in just one pot.

(images via accessCeramics with artist's permission)

James Tisdale

2011-12-21T10:47:00.000-08:00

Let's get a little figurative, shall we? Aren't these sculptures by Austin-based ceramist, James Tisdale incredible? I love all the detail in each piece, from the colors to the gestures, it really allows a story to develop within the sculpture. I feel like a lot of sculpture lacks that quality- narrative, which is a shame because narrative is one of the aspects of sculpture that keeps it from being static and boring. Wouldn't you agree?

(images via artist's website with permission)

Tess Stilwell

2011-12-11T08:30:00.000-08:00

I have been meaning to post some of Tess Stilwell's work for over a year, so that the original images I chose to share were exchanged for the shots of these adorable cups from the artist's thesis series. I really love how the patterning and characters have evolved in this work. The quality of line, the placement, the subject matter, and the amount of imagery have reached a very balanced aesthetic. Don't you think?

P.S. So sorry for my absence. I have been busy with so much lately. Including my Kickstarter project. Woot Woot. Thank you to all my (Mud)Bucket friends and readers who supported me and helped make it such a success. :)

(images via artist's website with permission)

Peggy Loudon

2011-10-31T11:48:00.000-07:00

I'm feeling girly today. Maybe it's the Mazzy Star playing in the background, who knows.

I love Loudon's graceful pots and I think what dazzles me the most is that even though all the scrapping and stitching on these posts should feel rough, it doesn't. These pots feel delicate and wistful, perhaps due to the gentle colors, the simple shapes, and the thin walls.

They are so lovely.

(images via artist's website with permission)

Thank you, thank you!

2011-10-27T08:22:00.000-07:00

Hi ya'll!

I just wanted to say thank you and tell you to give a look over there to the right. My Kickstarter Project has reached over 90% of it's goal in less than half the duration of the fundraiser. I am so grateful to everyone who has pledged and the buckets and buckets of support I've received for this series. I am so incredibly excited to get started on this work, but I have to wait until December. In the mean time I'm preparing everything I can... Making shopping lists for different stores, painting mixed media works to exercise my color thumb, and of course getting started on the rewards.

The best thing about this whole Kickstarter business is that it has actually inspired me beyond my initial ideas. I'm thinking about textiles, painting, clay, all in a new exuberant light thanks to the success of this project and the generosity of my backers.

There are still 35 days before the fundraiser ends and only $120 before I reach my pledge goal. I know I'm going to reach my pledge goal before the half way mark, I can just feel it, but that means there will be a whole month of fundraising time without any goal to meet.

Sooo... I'm putting it out there. Any extra contributions, beyond the $1500 goal, will go to fund a following series in clay. You all know I'm stocked with supplies for ceramics, so any extra money would fund membership dues at a local ceramic studio. Not Made in China is an awesome little studio here in Albuquerque, NM and they offer monthly memberships for $107 that includes clay, firings, and equipment usage. Any donations beyond the Kickstarter goal will be used to help offset this cost.

So here's your chance (Mud)Bucket readers, to support a textile art turned ceramic art project. What is the ceramic series going to be you ask? Well, it's still developing but the essence of the work will be "service," or at least that's what my sketches tell me. (And keep your eyes peeled, once I reach my goal, a new reward will be revealed.)

Thank you again, everyone, for you help. And your unending support here on (Mud)Bucket... you all are the best readers a clay-obsessed blogger could wish for.

Myungjin Kim

2011-10-24T18:16:00.000-07:00

I have been an admirer of Myungjin Kim's work for a very long time. I'm sure you can see why. These works of art are whimsical, ethereal, charming, and reflective. Not to mention skillful. Insanely skillful.

(images via accessCeramics with artist's permission)

Video: Ceramics- A Fragile History

2011-10-23T07:27:00.000-07:00

BBC presents a three part trilogy about the history of British ceramics. How awesome is this!?!
Part one is above, part two below.... Part Three airs tomorrow and should be available on YouTube shortly thereafter.
So awesome.

Video: Agnes Martin

2011-10-21T08:37:00.000-07:00

Agnes Martin Interview (20:00 version, 1997) from Chuck Smith on Vimeo.

Agnes Martin is one incredible lady and a brilliant artist. I first saw her work last winter at the New Mexico Museum of Art in Santa Fe. I would have never expected to fall so hard for what really is just lines, lines, and more lines, but I did. What is it about the grid?

It makes sense, though, when I consider other artists I love who exploit the ever-evolving line- potters like Nicholas Bivins and Emily Schroeder and Rob Sutherland.

Anyway... enjoy the video, hopefully you'll learn a thing or two.

Scott Bennett

2011-10-17T08:12:00.000-07:00

I love the shape of these bottles and the textures and colors of the glazes. It can be difficult at times to find a real balance between surface and form and to build a mutually supportive relationship between glaze and vessel. I find these pots to be simple yet very successful examples of such a relationship.

(images via Red Dot Gallery used with permission from the artist)

Open 4 Discussion: A Disclaimer

2011-10-15T09:14:00.000-07:00

Hello everyone.

A recent experience with Blogger has let me know that I need to make something about this blog clear.

I began this blog initially as a way to educate myself about contemporary ceramics. I decided to share my experience widely with readers because I thought there might be other ceramic artists and ceramic art students with the same thirst for knowledge as my own. You see, from my experience, students who wish to study ceramics usually have very little, if any, access to information about or exposure to the contemporary ceramic art scene. I've actually been quite shocked by how little we know about each other at times, and I see this blog as a small piece of the solution to that sort of isolation. I think we can become better ceramic artists by knowing more about our fellow potters and sculptors. And we can become stronger artists in general by having a stronger understanding of our place within the larger art scene.

But recently this blog was reported to Google for infringement of an artist's copyright. Now, I greatly respect every artist's work as their own, but I suppose I find myself in the school of thought that if you make art that you want the public to view and ultimately purchase, well then, images of your work that are within the public realm are then for public viewing, most especially within an educational context. Now, I know that my school of thought is not shared by everyone, and probably not even the majority, but I'd like to think that all of you readers appreciate the exposure to other artists that has been facilitated here on (Mud)Bucket. This is why I have had a disclaimer posted on this site to let folks know that if they wish their work not to be shared on this platform, that I would be glad to remove it.

With that said, an artist recently chose to report me instead of emailing me directly. I'm not sure why I wasn't contacted first, especially with the disclaimer considered, and truth be told, my ego was a little bruised at first. I have no ill-feelings towards the artist who reported me, they were acting to protect their work and I understand that, though from what I'm unsure. If you have ideas on that, please speak up in the comments section.

When I began this blog I was sharing artists at such a rate that I didn't feel I had time to contact each artist before sharing their work. The blog has slowed since then but my life outside the blogosphere has intensified greatly and I still feel that my time for this blog is rather limited. I have always, however, had a desire to go back through the archives to try and contact all the artists whose work I've shared on this blog, as I do feel it is important for them to know and have a choice of where their work is viewed. I thought the disclaimer would be enough until I was able to begin that task. I see now that it was not.

Since receiving the notice from Google, I have edited and moved the disclaimer to the top of the page to make sure it is seen by everyone who visits (Mud)Bucket. And I have decided to begin the task of contacting the artists (or their estates) shared here within this blog. Now, this could mean that some content will be permanently removed from the site, but I have faith that most artists won't be so inclined. This task will be lengthy as there are over 300 individual artists that need to be contacted. If you are interested in helping, the biggest thing you can do is let me know if there are images of yours on this blog and whether or not you would like me to remove them (use the search bar if you aren't sure). If you have time, or perhaps students with time, and would like to help me with this process, send me an email. I would greatly appreciate the help.

In the mean time, things should continue as normal here on the blog, by which I mean slowly but steadily. Please chime in with any ideas or opinions that you have on the issues of copyright and education and on exposure to contemporary artists. This is an open forum.

Thanks for your understanding.

Nicholas Bivins

2011-10-04T17:47:00.000-07:00

Wow, I just found this post way back in the unpublished archives. I can't believe I never shared Nicholas Bivins' work on this blog. He is one of the most talented new potters on the scene. I love how modern his shapes are and I'm really impressed with how he has redefined the idea of a service, or set of dishes. The bonus, his glazing and surface design are killer.

(images via artist's website)

I'm Launching on Kickstarter!

2011-10-02T08:41:00.000-07:00

So... I know it's been quiet around here. I've been trying really hard to maintain a creative practice at home and too much blogging (reading and writing) takes away from that. My creative energy is a-bloomin', though. I've been craving clay more lately than I have in a very long time. Hiatuses are good sometimes I guess. But this isn't exactly a hiatus anymore.

There's big news.

I'm launching a Kickstarter Campaign, today, and I need your help, (Mud)Bucket Readers.

For those who aren't familiar with it, Kickstarter is a web-based, grassroots fundraising tool for creative projects aplenty. Individuals propose and then list projects on the Kickstarter website where friends, family, colleagues, acquaintances, and strangers alike can pledge different contributions to the project in exchange for a series of rewards. The pledges are collected in an 'all or nothing' fashion, so each project is accompanied by a monetary goal which must be reached before the project creator can reap the benefits of the fundraiser. This protects both the project creator and its supporters, and ensures that no projects end up half-assed. I like that.

I've been working on this Kickstarter Campaign called 'Ladies Work' for the last couple weeks and I'm finally ready to launch. It is a textile arts project that I am very excited for. How does a textile arts project relate to a ceramic arts blog, you say? Well, to put it plainly, I hope, through the production of this textile series, to develop a stronger point of view as an artist which I will then feel more confident translating into the different mediums I love to use- including clay. (In fact, this whole series was originally inspired by the workshop I took with Diana Fayt earlier this year, fancy that.)

The obstacle that I've come to in my ceramic work is that I feel I don't have a solid path to follow. My work has been very weak on many levels and for the longest time I couldn't figure out what was going on. I thought maybe I really didn't love clay as much as I thought. WRONG. I thought maybe I just wasn't any good with clay. Again, WRONG. And then I thought, well maybe I just don't have anything unique to offer the world as a ceramic artist. WRONG WRONG WRONG WRONG WRONG. I have since realized, through the pursuit of my textile work, that I do want to work in clay and that I do have something unique to offer the kiln gods. If it is through the consistent exploration of multiple mediums that I remember these facts, then so be it. Isn't it funny how that works?

So... I am asking you, readers, to help me with this project. We have until December 1st to reach the pledge goal of $1500. If you can pledge, thank you from the bottom of my little potter's heart. If you can share this Kickstarter Campaign with your friends, family, studio mates, and blog readers, again thank you from the bottom of my little potter's heart. If you can do both, I will explode with gratitude like a pot full of plaster in the kiln.

Thank you so much for reading this. For more information please visit my Kickstarter page, where you can pledge if you decide you'd like to contribute and where you can find the video above to share with your friends and readers.

I hope this project inspires some of you to try your hand at a Kickstarter project as well. If it does, please let me know. I'd love to support you, too.

Pledge to "Ladies Work"

P.S. If you'd like to see some of what this project will fund, check out my board on Pinterest.

Ian Meares

2011-09-26T08:29:00.000-07:00

The abstract expressionists and the minimalists had it right when they concluded that sometimes the relationships between color, texture, shape, and luminosity were content enough. These pots by Florida artist Ian Meares are evidence to that conclusion. Also, I am really feeling the swatches of color thing right now. It's just making me go ga-ga.

(images via Red Lodge Clay Center)

Nicole Kowalski Aquillano

2011-09-25T19:38:00.000-07:00

I have not felt so excited by fresh ceramic work since I found Michelle Summers' work. I am totally in awe of these pieces by Nicole Kowalski Aquillano. She is currently a masters candidate at RISD and her work embodies so many of the things that I love about clay- freedom of shape, texture, pattern, and color. I'm so excited to start following her work!

I have to admit... Lately I am really having a hard time not having an outlet for my ceramic work. I am dying to break out some of the bisque I brought with me on the move and just start painting it with my underglaze collection. Only trouble is, is that I have no idea when I will be able to glaze fire it. We'll see what happens.

It's just that I am so focused on my textile work right now... in fact I have a Kickstarter project in the works that I can't wait to share with you guys... I just don't have the time to drag out all my ceramic supplies. Eeeek! Maybe I can figure some clay time in somewhere. Maybe.

(images via artist's website)

Jérôme Galvin

2011-09-19T08:12:00.000-07:00

Now, I think you might have guessed I'm a sucker for anything art brut. These pots by French artist Jérôme Galvin totally hit the spot. I love the reference to blue and white wares from Renaissance Europe, illuminated manuscripts, and oribe pottery from Japan. I love the fact that he effortlessly combines an attention to detail with a crudeness of hand and application. Yum.

(images via artist's website)

Open 4 Discussion: Clay Comfort

2011-08-06T09:19:00.000-07:00

You know... I had a quirky realization this morning as I poured my coffee into my Kristin Pavelka mug. While overall, my sentiments about the southwest and this strange new city are very, very good, I do have my moments where I realize my life has changed drastically in the last month. My friends are all hundreds of miles away... All of them. I have no studio to run off to for a creative kick in the butt. And the art culture in this city is so different from back home and, truth be told, a little more hidden then I'm used to.

Yesterday all these thoughts backed-up a bit and the result was a case of homesickness. It wasn't too bad, but the thought of living away from my city by the bay for so long unsettled me for a while.

Yet this morning, when I opened my cupboard and looked up at my collection of charming handcrafted mugs, the strangest thing happened. I felt right back at home. As I lifted the curvy green mug with the orange-centered flowers from the back of the shelf, I immediately felt the comfort of my little hobbit hole back in San Francisco. And it's not just the way the mugs look, but the feel of each one in my hand that I have become so familiar with over the last year and a half. And the shape of the lip as a warm drink passes over mine. And the way the grounds from the crumby french-press look when they get trapped at the bottom of each different mug.

I think this is one of the reasons I am so in love with ceramics, and pottery in particular. When objects are hand-crafted, like the ones in my cupboard, they're imbued with a type of character that makes them more of a friend then just a mug. It may sound silly, but I guarantee I am not the only one who feels this way.

I like when artists really embrace this quality of their creations. Have a read at Michelle Summer's blog, where she talked about this recently. Then tell me what you think. Do you have relationships with some of your pots, or other handmade objects in your home?

Sidetracked for the time being...

2011-07-25T13:39:00.000-07:00

Hello my dear readers...

I need to confess something to you. I am a bit burnt out. I love writing this blog and it has been such an amazing experience thus far, but I think I may need some time away. There have been many big changes for me in the last year or so... I've moved to a new state, I've finished college (FINALLY!), and my creative practice has shifted focus a bit.

You see, I think I need some time away from clay. We aren't getting divorced, don't worry. I just think we need some time apart so I can really figure out what I want from our relationship. While I wait for another ceramic studio opportunity here in Albuquerque, I will be busy making many other things...

I hope to spend the next couple months sewing, beading, quilting, building/restoring furniture, printmaking, embroidering, painting, weaving, drawing, training my new pup, finding a good job, exploring the Duke City, making new friends, and cooking up a storm. And I will be sharing all these fun things on a new blog, Folk-Art-Life... Think of it as The Mud Bucket's spunky kid sister.

I want you all to know, I am not abandoning this blog. I couldn't after all I've experienced with it. But it will be far and few between as far as posting goes for the next couple months. I hope you can understand and I hope you'll come stop by at Folk-Art-Life in the mean time.

Thanks, friends!

-Jesse Lu

Moving On...

2011-07-11T10:05:00.000-07:00

Big changes.

We made it to New Mexico.

It is beautiful.

It is strange.

It is new.

Stay tuned.

(beautiful image by Wylie Maercklein via Flickr)

Karen McPhail

2011-05-27T16:17:00.000-07:00

I came across Irish potter, Karen McPhail a couple days ago on Bloesem. What a sweet surprise! I love the graphic nature of the stencils and decals as well as the lovely quality of the linear decorative elements. Plus, creative handles and knobs are always a plus in my book. Also, I really appreciate, now more than ever, the simplicity of the cylinder and how wonderful it is when boldly decorated.

(images via artist's website)

Workshop Review: Julia Galloway

2011-05-25T13:33:00.000-07:00

Maybe it’s because I was too busy writing notes or maybe it was because my camera battery died early in the demo, but I didn’t get too many photo’s of the Julia Galloway workshop that I attended last weekend with friends Linda Fahey, Hue Yang, Tiffany Schmierer, and Margaret Tassi. That being said, it was the best workshop ever!

I was completely blown out of the water by the artist. Galloway was hilarious, generous, commanding, eloquent, down-to-earth, talented, intelligent, informed, and brutally honest. I kept leaning over to Linda and Tiff to gush the overflowing awe I was experiencing in her midst. He he he... I think we were all equally inspired, because we all had huge smiles on our faces every time I checked.

In an incredible six hours, Galloway covered throwing techniques, altered thrown forms, slab construction, unique handle pulling, pillow forms, spout building, glaze formulation, mishima, shellac resist, wax resist inlay, combined surface design techniques, surface design principles, color theory, creative philosophy, copyright issues, contemporary ceramics, history of ceramics, teaching philosophies, and of course a retrospective of her own work. And even after all that, she rushed over to Trax Gallery, to give an artist talk at the opening of her fantastic solo show.

Though I did glean plenty of technical tips from this workshop, the real gems of the experience were in the little moments of creative wisdom that Galloway shared with us. These moments were so fleeting and so plentiful that if you weren't paying very close attention (perhaps, even at the cost of great photographs) you would miss them. I highly recommend attending any workshop, demonstration, or lecture from the artist as her honest insight is unparalleled in the ceramic arts community. I hope that in the future I will have the chance to take an intensive workshop with her. I think there is so much more to learn from her and I am jealous of all the students at University of Montana in Missoula who have access to her wisdom all the time.

On that note, I'll leave you with one little bit of wisdom that made me laugh over and over again as she said it. If all else fails, and "you get caught naked... just strut what you've got."

For more (and much better) photos and a couple more workshop reviews, check out Linda's post. Also, a big thank you to the folks who organized the workshop over at Walnut Creek Civic Arts Center. I had a lovely time and the potluck was delish!

Countdown!

2011-05-13T15:59:00.000-07:00

After today, I will have only four more days as an undergraduate. Whew. I don't know what I'm going to do with my life. Wish me luck?

Cheers!

Open 4 Discussion: Figuring Out Form

2011-05-08T15:34:00.000-07:00

So the proverbial form, as in form follows function.

This mysterious aesthetic angle continues to elude me. As I look at the pieces I've been creating as of late, I cringe at the silhouette that appears before me. In fact it seems a silhouette is not there at all. When I am making pots I pay so much attention to process, construction, function, and surface but so little to the shape of each vessel. It has me thinking about how exactly a potter develops her form.

via Antiques of a Mechanical Nature

This idea came to the forefront of my attention during the recent workshop with Christa Assad that I attended. The shape of her works is so clearly essential to her concept and has become unmistakably identifiable as her own. In the slideshow that accompanied Assad’s demo, several photographs were shown to explain the artist’s direct influence. It was interesting to see how an antique iron becomes a teapot via her imagination. But how do you accomplish such a feat? Assad explained that creating the perfect form doesn't happen overnight. A form is not perfected so much as it is refined, through constant working and reworking of the same vessel. I think this is a good point, but for some, including myself, a starting point can be difficult to come by. I have yet to find my own iron.

Inspired by the practicality of a Bauhaus education, I am now on a mission to provide for myself the course on three-dimensional design that I never had. When I studied 3D design in school it was more of a sculpture primer than a formal course in the fundamental elements of design. I've done some research online and checked out a few good books from the library on the subject including Johannes Itten's Design and Form: The Basic Course at the Bauhaus and Later and Louis Wolchonok's The Art of Three-Dimensional Design. While it looks like these resources have a lot to offer me, I can't help but feel a need for something more specific to pottery.

My friend Amy Horn recently embarked on an interesting exercise to help along her own explorations of form. It is such a great exercise that I don't know why none of my professors ever gave such an assignment. Working from the visual reference above, Amy embarked on a plan to copy every one of about 30 different forms- in the process discovering which forms felt best to throw, to hold, and to drink from. This is brilliant and ever since I have been in search of more of these "referential menus". (Please let me know if you have any you might care to share.)

Jake Allee

It's also interesting to look at other artist's sketches (like Jake Allee's above and Euan Craig's below) to see how the develop shape in a two dimensional space. In my own sketchbook I have noticed that I only draw form once or twice before moving on to the next idea. In other artist's sketchbooks I'm noticed whole series of forms. Either drawn from one starting point to an evolved end point or in so many variations of one idea as to cover all of ones bases, these collections become a catalog of forms from which to work. And in trying many versions of the same idea, one might arrive at a resolved shape, as Christa Assad explained.

Euan Craig

But before you can even begin to refine your form through throwing exercises or sketches, one must consider what type of form best suits her work. Some questions to consider:

-Do you want a shape that suits your surface or...

-...will you find a surface that suits your shape?

-Does your surface design require smoothness or texture?

-Are your pots intended more for use or more for decoration?

-Will you make molds from these forms for quicker reproduction?

-Which methods of building pottery do you have at your disposal?

-What type of clay body do you care to use?

-Is it important to work in a cohesive series of forms?

-How much time do you have for each piece?

-How much time do you spend on surface treatment?

Kevin Snipes via The Art Room Plant

When I really get to thinking about my work, however, and when I try to answer these questions for myself, I realize that pottery, and more broadly clay, suits my work mostly as a blank canvas. I am not so interested in making forms as I am interested in decorating the surface and telling a story, similarly to artists like Kevin Snipes (above) and Greyson Perry (below). In realizing this my entire understanding of form shifts. I now feel less concerned with making objects and more concerned with how many different forms I can create with a relatively level plane over which I can build my story. While I still love pottery and am fascinated by the history of our media, I need to adapt all I've learned to the ideas I am trying to express. I used to feel frustrated by the fact that I couldn't invent spectacular shapes on the wheel or build intuitively coil by coil, but I've accepted this now. Perhaps the reason I couldn't develop these shapes is because my heart was always thinking about the surface- color, pattern, texture, motif, line.

Greyson Perry via the Victoria and Albert Museum

I believe this is the greatest jump that I've made in all my seven or so years as a ceramist. I've figured out that my relationship with clay is not about what I can do with the clay but what the clay can do for me. I am not a ceramic artist. I am an artist who enjoys using clay. And for me, that is perfect.

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A couple more resources on form:

Emily Murphy wrote a great post on the subject on her wonderful blog a while back about wheel thrown forms.

And Ceramic Arts Daily posted a nice little video from Dennise Buckley a couple months ago about hand-built forms.

And if you don't already watch Ron Philbeck's videos, you should start now. He often discusses the relationship between form and surface with really clear insight.

Well, I hope some of you weigh in on this topic. I've been thinking about this post, and actually writing it for a few weeks now. I'd love to hear all of your thoughts, so do chime in with your own bits of wisdom.

Ally Howell

2011-05-08T14:15:00.000-07:00

It's been a while since I last posted I know... But I have a pretty good excuse-

I'm graduating!

Yeah... there's a tinge of exhaustion in that exaltation. I've got exactly six school days left before I am completely finished with my B.A. in studio art. I kinda can't believe it, I don't know what I'll do next. Well, I kinda do, but that's an entirely different post.

Onto the lovely pots above. I've been harboring this post for a while, and well, today is as lovely a day as any to share. I haven't found much information on what Miss Howell is currently working on (or even where she is working from) but these pieces are nonetheless too lovely to pass up. I love the direction she is taking her work-- how she translates the influence or Fabergé and Rococo ornamentation into a cruder approach to handbuilding. These are so up my alley. (No pun intended, seriously.)

(images via artist's website and Flickr)

From the Desk of...

2011-04-18T19:32:00.000-07:00

Jesse Lu at home

You have to check out this blog, from the desk of... It photo documents the work-spaces of creative professionals accompanied by great interviews. I don't know if I'm just a weird work-space voyeur or what, but there is something so alluring about seeing where the magic happens for other artists and designers.

Above is a shot of my own work-space (you can see my studio space in these posts) and below are some of my favorites from this fantastic blog...

I dare you all to snap photos of your work-spaces and share them on your blog.s If you do, link back to this post so we can all see. ;)

(images via From The Desk Of... blog)